@inbook{59745,
  author       = {{Tumat, Antje}},
  booktitle    = {{her:voice. Komponistinnenfestival 2024}},
  editor       = {{Fahrholz, Merle}},
  pages        = {{103--109}},
  publisher    = {{Hollitzer}},
  title        = {{{„The folk songs of America“ und „complex female characters on stage“: Musikgeschichtliche Wendepunkte in den Komponistinnenbiografien von Florence Price and Mizzy Mazzoli}}},
  year         = {{2025}},
}

@inbook{60034,
  abstract     = {{A preference for music theatre works is characteristic of Hans Werner Henze's oeuvre, as is his close collaboration with famous 20th-century authors, who wrote the libretti for his music theatre works. This paper explores the artistic collaborations of Hans Werner Henze and Ingeborg Bachmann on the one hand and Henze, Chester Kallman and W.H. Auden on the other in the context of their joint operatic work, surviving correspondence and poetological essays. This is set against the backdrop of how personal relationships can influence collaboration in the performing arts. In both cases, the letters and biographical writings of the aforementioned working groups, read from a gender perspective and with regard to creativity, forms of relationship and artistic collaboration, point to a tension between potential and desired personal relationships, the confrontation with marriage as a conventional social framework and artistic collaboration as a long-term connection.}},
  author       = {{Tumat, Antje}},
  booktitle    = {{(Wahl-)Verwandtschaften.Gemeinschaftliches kulturelles Handeln}},
  editor       = {{Bagge, Maren and Fornoff-Petrowski, CHristine and Ricke, Anna and Rode-Breymann, Susanne}},
  pages        = {{209--224}},
  publisher    = {{Böhlau}},
  title        = {{{Künstlerische Zusammenarbeit zwischen Ehekonvention und Sublimation. Hans Werner Henzes Bühnenschaffen mit Ingeborg Bachmann, W.H. Auden und Chester Kallman}}},
  volume       = {{21}},
  year         = {{2025}},
}

@inbook{59164,
  author       = {{Tumat, Antje and Korbmacher, Melissa Maria}},
  booktitle    = {{Alltagskultur im Vormärz}},
  editor       = {{Eke, Norbert Otto and Kopp, Detlev}},
  pages        = {{181--203}},
  publisher    = {{Aisthesis}},
  title        = {{{Musikalische Alltagskultur im Vormärz}}},
  volume       = {{30}},
  year         = {{2025}},
}

@book{59079,
  abstract     = {{The present OPEN Edirom digital edition of Goethe’s Faust presents the literary and musical text of the work as it was possibly performed at its premiere (Friday, March 2, 1832) and consecutive performances under the direction and participation of Carl Seydelmann (directing the production and playing the role of Mephistopheles) and Peter Joseph von Lindpainter in the Stuttgart Hoftheater in 1832 (March 11, May 28, October 12) and 1833 (May 14, December 27), in accordance with the surviving sources, i.e., the original theatre material preserved in the Württemberg State Library in Stuttgart (D-Sl). This material constitutes a nearly complete autograph source package consisting of text adaptation (an autograph by Seydelmann incorporated into a copy of the print edition published by Cotta in Tübingen in 1830) and corresponding music (two volumes with autograph scores by Lindpaintner).}},
  editor       = {{Münzmay, Andreas and Frömmel, Lena and Bachmann, Tobias and Tumat, Antje}},
  publisher    = {{ZenMEM}},
  title        = {{{Peter Joseph von Lindpaintner, Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl Seydelmann (1832)}}},
  year         = {{2025}},
}

@inbook{62127,
  abstract     = {{Henzes Privatbibliothek aus seinem Besitz in La Leprara bei Marino südlich von Rom, in dem er fast fünfzig Jahre seines Lebens verbracht und viele seiner großen Werke geschrieben hat, wurde nach dem Verkauf des Anwesens der Bibliothek des Musikwissenschaftlichen Seminars der Universität Paderborn/Hochschule für Musik Detmold per Schenkung als Sondersammlung übergeben. Die Privatbibliothek ist nunmehr vollständig inventarisiert und somit der Öffentlichkeit zugänglich gemacht. Der Text beschreibt in einer ersten Bestandsaufnahme den Charakter und die Schwerpunkte dieser Sammlung und stellt erste Forschungsfragen an den Bestand: Er fragt etwa nach den Erkenntnissen, die sich aus den über 600 handschriftlichen Widmungen in Büchern und über 150 Widmungen in Noten im Hinblick auf Henzes persönliches Netzwerk und seine Biografie ergeben und wertet einige Widmungskonvolute aus.
Abstract (EN)
    Henze's personal library, which belonged to him in La Leprara near Marino south of Rome, where he spent almost fifty years of his life and wrote many of his important works, was donated to the library of the Musicology Seminar of the University of Paderborn/Detmold University of Music as a collection after the sale of the estate. The private library has now been completely catalogued and is thus accessible to the public. The text provides an initial overview of the character and focus of this collection and poses research questions about the holdings: For example, it asks what insights can be gained from the more than 600 handwritten dedications in books and over 150 dedications in sheet music with regard to Henze's personal network and his biography, and evaluates some of the collections of dedications.}},
  author       = {{Tumat, Antje}},
  booktitle    = {{Musik, Netzwerke, Selbstzeugnisse. Aktuelle Forschung zu Hans Werner Henze}},
  editor       = {{Tumat, Antje and Minetti, Elena and Ried, Dennis and Capelle, Irmlind}},
  keywords     = {{Hans Werner Henze, Privatbibliothek, Neue Musik}},
  pages        = {{23--40}},
  publisher    = {{musiconn.publish}},
  title        = {{{„Ein Komponistenleben des 20. Jahrhunderts“. Erste Bestandsaufnahme und Forschungsfragen zu Hans Werner Henzes Privatbibliothek als Sondersammlung}}},
  doi          = {{10.25366/2025.158}},
  year         = {{2025}},
}

@book{62056,
  abstract     = {{Der Sammelband veröffentlicht die Beiträge des internationalen Symposiums zu Hans Werner Henze, das im Dezember 2022 in Detmold stattfand und aktuelle Beiträge zur Henze-Forschung mit unterschiedlichsten inhaltlichen Schwerpunkten wie Filmmusik, Gender Studies oder Musikanalyse versammelt. Nach zwei Aufsätzen zu neuen Henze-Briefausgaben (Irmlind Capelle / Elena Minetti / Dennis Ried / Antje Tumat einerseits und Andreas Hérm Baumgartner / Wolfgang Rathert andererseits) und einem ersten Überblick über Henzes Privatbibliothek als Sondersammlung (Antje Tumat) diskutiert Adrian Kuhl Die Zusammenarbeit Tatjana Gsovskys und Hans Werner Henzes beim Ballett Der Idiot. Zafer Özgen beschäftigt sich anschließend mit Kompositionsstrategien in Henzes frühen Opern, Federica Marsico betrachtet die Figur des Orpheus bei Henze aus Gender-Perspektive und Benedikt Leßmann widmet sich Henzes Filmmusik. Den Abschluss bildet ein Roundtable mit Zeitzeugen, bei dem ehemalige Kolleginnen und Kollegen, Freunde und andere mit Henze verbundene Personen aus ihrer Zusammenarbeit mit Henze berichten. Teilnehmende waren Henzes langjähriger Freund und enger Mitarbeiter in Montepulciano Gastón Fournier-Facio (Rom) und der Regisseur, Geschäftsführer der Henze-Stiftung und letzte Lebensbegleiter Henzes Michael Kerstan (Nürnberg), Simon Obert von der Paul Sacher Stiftung (Basel), dem Aufbewahrungsort der Sammlung Hans Werner Henze, sowie Peter Petersen (Hamburg) als Stellvertreter der frühen musikwissenschaftlichen Henze-Forschung.}},
  editor       = {{Tumat, Antje and Minetti, Elena and Ried, Dennis and Capelle, Irmlind}},
  pages        = {{206}},
  title        = {{{Musik, Netzwerke, Selbstzeugnisse. Aktuelle Forschung zu Hans Werner Henze}}},
  doi          = {{10.25366/2025.156}},
  year         = {{2025}},
}

@misc{52684,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Ried, Dennis and Capelle, Irmlind and Minetti, Elena and Tumat, Antje}},
  publisher    = {{LibreCat University}},
  title        = {{{HenDi-Data (data package) v3.1.0}}},
  doi          = {{10.5281/ZENODO.10839525}},
  year         = {{2024}},
}

@misc{51677,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Capelle, Irmlind and Minetti, Elena and Ried, Dennis and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v3.0.0}}},
  doi          = {{10.5281/ZENODO.10666370}},
  year         = {{2024}},
}

@misc{53790,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Ried, Dennis and Minetti, Elena and Capelle, Irmlind and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v4.0.0}}},
  doi          = {{10.5281/ZENODO.11067989}},
  year         = {{2024}},
}

@inproceedings{36819,
  author       = {{Tumat, Antje}},
  booktitle    = {{Barbara Strozzi (1619-1677). Musik  und Diskurs im Venedig des Seicento}},
  editor       = {{Meine, Sabine  and Perocco, Daria }},
  pages        = {{249--269}},
  publisher    = {{Olms}},
  title        = {{{Politisch? Poetisch? Persönlich? Barbara Strozzis „Il lamento“ zwischen Selbstausdruck und politischer Positionierung}}},
  year         = {{2024}},
}

@misc{55542,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Ried, Dennis and Minetti, Elena and Capelle, Irmlind and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v5.0.0}}},
  doi          = {{10.5281/ZENODO.13137419}},
  year         = {{2024}},
}

@misc{55948,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Capelle, Irmlind and Ried, Dennis and Minetti, Elena and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v6.0.0}}},
  doi          = {{10.5281/ZENODO.13381134}},
  year         = {{2024}},
}

@misc{49913,
  author       = {{Bachmann, Tobias and Tumat, Antje and Frömmel, Lena and Münzmay, Andreas}},
  title        = {{{Peter von Lindpaintner, Johann Wolfgang von Goethe, Carl Seydelmann, Ouverture, Entreacte, Chöre und Lieder zu Goethes Faust nach der szenischen Einrichtung von Carl Seydelmann (1832)}}},
  year         = {{2024}},
}

@misc{57562,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Minetti, Elena and Capelle, Irmlind and Ried, Dennis and Tumat, Antje}},
  publisher    = {{Zenodo}},
  title        = {{{HenDi-Data (data package) v6.1.0}}},
  doi          = {{10.5281/ZENODO.14227711}},
  year         = {{2024}},
}

@article{57579,
  abstract     = {{Richard Wagner is considered a prominent critic of incidental music, as he called for the abolition of randomly inserted music between acts in plays. However, he greatly appreciated music composed especially for a play, such as Beethoven's music for Goethe's Egmont. In the early 1830s, he himself wrote several pieces of music for plays that have not been fully preserved. The text analyses Wagner's theatre music aesthetics in the context of contemporary aesthetics and theatre practice and provides a general overview of the music that has been handed down. His surviving theatre overtures show a high level of musical sophistication in the early engagement with symphonic music, as well as an effort to shape instrumental music according to dramatic content. They point to role models such as Beethoven and Mendelssohn. A more practical theatrical view of Wagner's theatrical music could open up new perspectives for his theatrical music and insights into the theatrical practice of the time.}},
  author       = {{Tumat, Antje}},
  isbn         = {{978-3-8260-8902-2}},
  journal      = {{Wagner-Spektrum}},
  pages        = {{71--83}},
  publisher    = {{Königshausen und Neumann}},
  title        = {{{Wagners frühe Schauspielmusiken – Ästhetik und Theaterpraxis}}},
  volume       = {{2}},
  year         = {{2024}},
}

@inproceedings{58131,
  author       = {{Tumat, Antje}},
  editor       = {{Höink, Dominik}},
  pages        = {{27--71}},
  publisher    = {{Textum}},
  title        = {{{Weltethos and wunderzaichen: Religion in the Music of the Western Avant-garde}}},
  year         = {{2024}},
}

@article{56307,
  author       = {{Tumat, Antje}},
  journal      = {{Takte. Das Bärenreiter-Magazin}},
  pages        = {{14--15}},
  title        = {{{Kunst kommt von Verantworten. Zum 100. Geburtstag Giselher Klebes}}},
  volume       = {{2}},
  year         = {{2024}},
}

@article{52325,
  author       = {{Adler, Luise and Tumat, Antje}},
  journal      = {{Loccumer Pelikan. Religionspädagogisches Magazin für Schule und Gemeinde des Religionspädagogischen Instituts Loccum}},
  pages        = {{9 -- 13}},
  title        = {{{Kirche und Musiktheater. Ein ambivalentes Verhältnis in Schlaglichtern}}},
  volume       = {{4}},
  year         = {{2023}},
}

@misc{51678,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Capelle, Irmlind and Minetti, Elena and Ried, Dennis and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v2.0.0}}},
  doi          = {{10.5281/ZENODO.10391419}},
  year         = {{2023}},
}

@misc{51679,
  abstract     = {{This is the data set of the project Henze-Digital. It contains project specific authority files (e.g., persons, organizations, places) and editions (e.g., letters, documents).}},
  author       = {{Capelle, Irmlind and Minetti, Elena and Ried, Dennis and Tumat, Antje}},
  publisher    = {{Henze-Digital}},
  title        = {{{HenDi-Data (data package) v1.0.0}}},
  doi          = {{10.5281/ZENODO.8304688}},
  year         = {{2023}},
}